creators corner

  • Me: *scrolling mindlessly thru twitter, when I abruptly and violently remember something I meant to check out last night*
  • Me, typing into google with more fervor than necessary: "Phil...Vischer... patreon...."

@amber-acrylic ….♥

List of Reasons Why I Think Beth is Alive
  • Andrea’s original death was so objectively bad that it was rewritten and reshot to be more satisfying. Then Gimple turns around and makes the same mistake that he’d just had to FIX from his predecessor’s work??? NO. Just no.
  • Her whole Season 4 arc pointed to a fake death. Originally I thought that was the kidnapping, but then it got totally out of control and all sorts of other S4 stuff started making more sense. BC of this, a lot of us were expecting a fake-out death, we just didn’t think it would be this good of a fake-out.
  • The stuff that we know was filmed during S5 that just seems to have vanished, which at least some people claim definitely included EK, like she was on set that day.
  • Christ symbolism. Like not even subtle Christ symbolism. Blatant, in-your-face-Pietà-Plagarism.
  • The fact that they actually put money into, and aggressively promoted her storyline, making sure to emphasize how strong she was and how she could be a survivor. Bad PR tactics for someone you’re just going to kill.
  • Giving her Andrea’s scars, “survivor’s marks” which not only supports my first bullet point, but they KNEW it was suggesting Beth as a legacy character for Andrea’s plot-lines, which would only make people even angrier when they didn’t follow through.
  • EVERY SINGLE SHOT BETH FIRES IN SLABTOWN IS A CLEAN, KILLING HEADSHOT which emphasizes how screwy the bullet that gets her is. For the sake of cinematic symmetry, it should have been a clean, straightforward shot as well, if it was going to kill her. Plus, Andrea had excellent aim, so it’s another Andrea parallel. 
  • Dawn is immediately killed with another clean, killing headshot, totally different from the sloppy steep-angled trajectory of Beth’s bullet. It’s a moment of emphasis, again.
  • That they left dangling threads of that storyline just hanging there, rather than burn everything down and push forward as is TWD custom. We don’t go back, because there’s nothing to do back to. If there’s something to go back to, it means we’re not done. That’s how TWD does it. Grady is still around, because we aren’t done.
  • All the weirdness and inconsistency about when various cast and crew say she heard about her character’s Fate. As a ‘not-lawyer-yet’ this one if frustrating. Everyone says something different about how this went down, which means that they are hiding something.
  • Her story is meant to parallel Rick’s, they admitted that much, and if that continues it means that her family has to think she’s dead and she has to track them down or else the parallel becomes broken and pointless.
  • THE BULLET - This is one of my sticking points, in fact, it gets sub-sticking-points!
      • It would have been really easy to shoot her through the chin
      • It would have made more sense to shoot her through the torso.
      • A headshot is the only way to reasonably avoid putting a dagger into her brain.
      • The angle IS physically possible ONLY if the bullet curved with her skull which would be non-fatal.
      • It’s too obvious a mistake and too easy to fix to believably be a production error.
      • It’s not like the FX crew had much else to do in this episode. Their entire focus would have been on Beth’s “death” scene.
      • It’s a main character death on a show about death where DEATH is a major theme. Mistakes in the execution (pun totally intended) of those death scene should be as close to perfect as is possible, even amateurs could do better than this. It’s either intentional, or it’s a fireable error.
  • They passed over their only opportunity to "cash-in” on the Beth/Daryl question. As a shipper, I’m just sad, but as a writer I’m deeply confused. The emotional pay-off they could have gotten even from just a close-up of their faces is just NOT the thing to pass up. Even if Daryl’s feeling for Beth were totally one-sided, you should still have a moment, SOMETHING, where they are reunited and you see the apprehension in her face, or the relief or whatever, something to “cash-in” on the last moment they were together when Beth asked him a question and he answered it with a look that killed your audience. Skipping over that is basically retconning, unless you’ll get another shot at satisfaction later on.
  • Ty’s death in the next episode was such a stark contrast as far as the total LACK of ambiguity. I mean they gave us plenty of time to get used to the idea after he got bit, after attempts to amputate his arm in time were clearly too late. They let him say a long farewell to the show and the fans that loved him and the horrible universe that ultimately brought about his demise. It was raw and personal and only emphasized how poor Beth’s “death” was. The goal is dissatisfaction, which only makes sense if it will be corrected in time.
  • We didn’t see (or even hear about) what happened to her body. If something is excluded from the narrative, be suspicious, that’s the rule.
  • Forget seeing her go into the ground, we didn’t even get a memorial. Not even a shot of them leaving behind a cross. Not only did the audience miss out on Beth closure, we’re let with the sense that the characters didn’t get that closure either, which only makes sense narratively if it will be revisited. Which is hasn’t been, although -
  • The way people are reacting to blonde walkers for the rest of the season implies that we’ve missed something HUGE. 
  • Specifically, blonde walkers in cars seem to majorly jar everyone. The group is almost fixated on them, which is especially weird given how used to walkers TF have become by this point. They basically ignore the dead these days, unless walkers are actually about to attack, and even then, the treatment has been kind of flippant. What changed between Coda and WHaWGO? And why is it only the blonde, trapped, helpless walkers that affect them this way?
  • Nicotero’s slip-up about the herd of walkers that was supposed to be in the MSF last year.
  • Also, Nicotero’s history of blonde women, head injuries and people thinking they are dead when they aren’t. See Kill Bill and “Torn Apart”
  • “I still sing” and then a music box that obviously symbolizes her starts playing after her death, in immediate response to the declaration “I have good news” which doubles as foreshadowing AND another Christ analogy.
  • I don’t typically look too closely at “Easter Egg” evidence, but I’ve got to admit, that flash in the opening credits that looks like Beth running with two other figures REALLY weirds me out. 
  • Also, as far as Easter Eggs go, putting “Green” and “Frankenstein” next to each other on the bookshelf was actually pretty suggestive, I have a hard time thinking it was an accident, and although it could just be a prop/set person fooling around, they filmed all of this long before TD was a thing so they aren’t teasing us intentionally.
  • The only other character who continued to affect the storyline this much and to be this ‘present’ after they died was Lori, who still had a ‘okay i’m better now goodbye’ moment at the end of the season, after she died. Rick got closure and Lori could go and after that her presence dropped away.
  • What did we get at the end of season six to wrap up all these Beth references and nods? Did we get a moment of closure? NO.
  • We got a blonde walker crucified against a tree (another Christ reference and a person punch in the gut to Daryl who is so far from over her loss it’s insane)
  • And we got yet another shot of the pretty dancing ballerina in the music box that totally symbolizes Beth during a Rick-monologue about showing people how to survive.
  • Beth didn’t earn death according to conventional writing rules, or even according to the TWD exclusive themes of S5, which were utterly consistent all the way through the season besides with here. I.E. one of these things is not like the others.
  • The lack of response from AMC about the twitter-riots, the petition, the general outrage. Really weird that they’ve been totally silent.
  • Emily Kinney’s canceled panels. <—never not weird.
  • And then when the creators were cornered and made to respond they basically played dumb “oh was that confusing?” which the more I think about it, the weirder it gets since THEY KNOW about us. For example: me and maybe one other person wondered if Rick really shot Pete and Chris Hardwick brought up that there was confusion about whether Rick really shot Pete. Like REALLY?! That’s the ambiguous death you’ll bring up?! The one that wasn’t even really that ambiguous, I was just indulging a crack-theory?! I’m so 3000% done with you Hardwick.
  • Emily continues to promote TWD [Edit: Oct. 10th and she not only attended the premiere but was actively promoting the show on stage with current cast members], which is really, really strange. She’s moderately famous, but if TWD is really in her past then her focus should absolutely be on promoting her upcoming projects. This is so obvious I shouldn’t even have to say anything.
  • But she didn’t do any commentary on the DVD. Even if she hadn’t done Coda, she should have at least done her solo episode Slabtown, unless she’s so limited in what she can say about it that it’s better to avoid it entirely.
  • The only reason to limit her talking about her storyline is if it’s not finished.
  • It’s a show about the living dead, so it’s logical conclusion was always to better utilize “coming back from the dead” thematically, so far they’ve played with it a little, but they’ve really got to step it up. I would have expected this sooner or later anyway.
  • I’ve avoided spoilers for S6, so keep in mind I know NOTHING. I haven’t even read up on the comic-book characters who are rumored/confirmed to be introduced. I haven’t read the interviews. I watched each of the trailers once and immediately regretted it. I don’t even like to see promo stuff before I watch the show, really. I mean, it’s pretty and all, and the stuff with the lights was wicked, and that song is PERFECT but I honestly tend to just avoid it as much as possible. ALL THAT HAVING BEEN SAID IT IS EXTREMELY BIZARRE THAT THEY CHOSE TO PUT A CODA IN THAT FIRST TRAILER THAT FEATURED DARYL APPEARING TO HAVE BEEN KIDNAPPED i say appearing bc i think the trailer is deceptively edited and something different could be going on But, anyway, it was meant to remind us of Beth’s kidnapped Coda from last year. It obviously was. It OBVIOUSLY was. WHY REMIND US OF A CHARACTER WHO’S OFF THE SHOW TO PROMOTE SEASON SIX? WHY EVEN BRING IT UP IF THE STORYLINE HAS LEFT HER FAR IN THE PAST AND SHE’S GOT NO RELEVANCE?! I”M SCREAMING NOW BECAUSE I AM SO DONE


Frederick Bean “Tex” Avery (February 26, 1908 – August 26, 1980) was an American animator, cartoonist, voice actor and director, known for producing animated cartoons during the golden age of American animation. His most significant work was for the Warner Bros. and Metro-Goldwyn-Mayer studios, creating the characters of Bugs Bunny, Daffy Duck, Droopy, Screwy Squirrel, and developing Porky Pig, Chilly Willy (this last one for the Walter Lantz Studio) into the personas for which they are remembered.

Avery’s style of directing encouraged animators to stretch the boundaries of the medium to do things in a cartoon that could not be done in the world of live-action film. An often-quoted line about Avery’s cartoons was, “In a cartoon you can do anything.”

Best known for: Red Hot Riding Hood, Dumb Hounded, Magical Maestro

Dear lord, Tex Avery– let me just start this by saying whether you know him or not this man is largely responsible for the way we know and understand physical and visual comedy in animation. It isn’t all owed to him solely but the way in which we know how cartoons can be cartoony and do things totally outside the realm of reality is thanks to this man.

You gotta understand that around the time, the market in animation was largely dominated by Disney and Fleischer Studios with the Fleischers slowly going on the way out. Warner Bros wanted to stake their claim so they gathered up a bunch of animators to make something new and different that would stand out from the rest. Enter Tex and a team of animators consisting of the likes of Bob Clampett and Chuck Jones. They worked together to invent the likes of Bugs Bunny and Daffy Duck and totally reinvent the character of Porky Pig. Their mission statement, particularly Tex’s was to stretch the medium of animation by doing things as absolutely crazy and off the wall as possible. With that, the Looney Tunes brand became a household name.

That about sums up what made Tex such a fantastic director and animator. He wanted to just do everything possible with animation, and I mean everything, at least, whatever could be considered humorous. 

He just went against the norm of normal conventions in animation and story telling and did amazingly. No place is that more evident than the cartoon Red Hot Riding Hood where he took a fairy tale character like Little Red Riding Hood and turned her into a sexy jazz singer. It’s crazy.

Looking at them now, many cartoons he directed were quite nonsensical, full of non-sequitors, and just general lunacy with little rhyme or reason. These days his style would be considered positively pedestrian and infantile; devoid of that substantial story and character element that we seem to crave in our cartoons these days.

It’s a weird sort of paradox to think about, isn’t it? The things he pretty much started and was known best for has been duplicated so much to the point that it’s considered boring and moronic by today’s standards and sensibilities. Despite that though, his cartoons remain timeless and entertaining. Even if they are full of non-sequitor humor and utter lunacy the jokes are so well timed and the humor so fantastical that it’s impossible to not laugh.

So to the director of many of my all time favorite animated cartoons I welcome Tex Avery to Creator Corner

Welcome to Carly’s Creators’ Corner, a beautiful place where you, dear reader, and I get the chance to pry into our favorite YouTubers’ lives and find out what makes them tick. Because if there is anything I love more than ice tea – and sweet Edgar Allan Poe, I love ice tea – it’s asking awkward questions to people I admire. So enter everyone’s favorite cat-loving filmmaker, Anna Akana!

Akana joined YouTube in 2012 and has since filled her channel with vlogs and sketches about everyday life. A traditional media actress by trade, Anna was compelled by the creative freedom YouTube allowed and has made her fans laugh until their sides split while inspiring them to pursue their own happiness through videos such as “How to be Alone,” “Dealing with Anxiety,” and “Feeling Sexy.”

Coming off the heels of her highly anticipated web series, “Riley Rewind,” Akana started this year with the goal of making 12 short films in 12 months. With four films already under her belt, Akana sat down to chat about balancing the demands of traditional and digital media, Jenna Marbles, and the thing she hopes to always give fans.


Carly: What originally inspired you to join YouTube?

Anna Akana: I think the first thing I ever did on YouTube – well a long time ago, I use to do music video parodies just for fun with my friends. They were always really morbid with people dying, like Leona Lewis’s “Bleeding Love,” I was killing someone. I was directing it, and it was so fun. But after that, I was acting and not getting auditions and waiting around and being frustrated because you’re – acting is more like waiting, like you’re always waiting around, so I did a sketch group, 10 Second Traumas, with a bunch of my friends. Things got really crazy about money and IP, and I was like we’re just making stuff! We eventually broke off, and I started doing stuff for myself because I still wanted to keep making stuff, and I was dating Ray [William Johnson] at the time. He encouraged me to do stuff on my own and just keep making stuff and figure out what I want to do. So here I am.

Carly: It’s been a huge year for your with your 12-films-in-12-months goal and a production studio.

AA: Yeah, I get tired of things very quickly, so with the vlogs, it was like I made a video every week for almost a year, a minimum of two years now. I feel like I’ve talked everything to death. You only have a certain point of view on shit, and I just wanted to tell more story-based stuff. I took [on] advertisers so I can have the money to support that, and I figured, I’ll do 12 short films so I can get a feel for how to run a set, and I’ll do a Kickstarter for a movie and then premiere the short films and invite people to come see them and stuff.

Carly: How do you balance all this and your auditions for traditional media?

AA: I’m auditioning a lot more than normal. It’s honestly really, really hard, especially with the personal stuff going on at the same time, but just last month has been – it feels like everything has been on hold as I was filming a Best Buy commercial and then I was moving to Burbank and I’m doing auditions and doing a weekly video. It sucks sometimes because you set up a deadline, but then you have your life happening so you feel like your video creation suffers because you don’t have as much time to devote to it, or as many fresh ideas, but I have a daily planner so that helps.


Carly: What inspires you?

AA: I think seeing really good content no matter what it is. I rarely go out of the house but when I do, to see shows or see a standup show or see a movie, it’s always so rewarding. I just saw “Edge of Tomorrow,” which was amazing for a Tom Cruise movie. I saw a live show called “Mattress Brothers” that my friends were in, and it was like the funniest thing I’d ever seen in my life. I was laughing so hard I was afraid I was going to pee in the theatre. Just seeing everyone be weird and quirky in their own way is really inspiring.

Carly: Is it ever hard talking to fans about things so intimate such as anxiety and suicide prevention?

AA: I think it’s easier when you’re not talking to someone face to face. When I’m looking at a camera and just pretending it’s a person and then putting it on the internet and not looking at it. I’ve found that the people I liked watching the most were really honest about things and were kind of just like whatever, this is my life, deal with it. Like Jenna Marbles, as weird as she is, she has this weird sense of honesty about her where you’re like no, this is really who you are. You’re just a goofy girl who is drop dead model gorgeous; f*ck you, but I love you, you know what I mean? [laughs] I think seeing that example and seeing what I liked watching really influenced [me].

Carly: Is it ever odd to meet your fans and realize, oh man, you’re real people rather than a subscriber number.

AA: No! It was never weird to me until I hung out with another YouTuber who would feel so awkward when she was recognized and would get such anxiety about it she didn’t want to leave her house. And for me, it influenced how I approached it. I also have a very negative experience when I see someone I admire, and I tell them and they’re kind of like, get away from me! I was like, oh man, I never want to do that because the people that watch you literally, technically support you, especially on YouTube. I mean I always felt good when I saw someone who was famous, who was really nice to me, you know? Like that sense of fandom, oh my god, you’re better than I imagined! I always want to do that for people because they come to you already with a sense of liking you and who they think you are so I’m like that’s no work on my part. I just have to be nice and be a good, approachable person. I think it gets weirdest when little girls recognize me– 13-year-old girls– and they start crying, and I don’t know what to do. I’ll just be like, come here, come here child, let me hug you! But no, I’ve always really liked it, I’ve always really appreciated it.

Carly: What are your future plans?

AA: The 12 short films this year are to prep for a feature the next year. Eventually I want to do movies.


Carly Lanning is a YouTubeNation curator and blames Mountain Dew for stunting her growth as a child.

THE DRESS: A Cautionary Tale

Hello friends. It is with great pleasure to present to you perhaps our greatest gift yet on our What Would Yeezus Wear Journey. The ICONIC Met Gala look 2013.

The dress that launched 1000 memes.

But triumph doesn’t come without trials. “Why are you posting such fire on a random Sunday night WWYW?”

So begins our story, full of keys to success, and lots of people not wanting us to win. *shouts DJ Khaled*

It all started a month before Halloween 2015. The ladies of WWYW had long discussed the possibility of pulling off this look, and felt Halloween, the one year anniversary of our viral explosion, and a perfect opportunity to flex on the gram, was the time to make the impossible possible. It started with Katie finding a dress at the thrift store (shouts Lil’ Dicky #savedatmoney) with a strikingly similar pattern. This opening the door to the think this could actually work. Only problem, it didn’t have a neck, sleeves, or matching gloves, and not nearly enough fabric to hack it together. Kathleen did not enjoy Katie’s suggestion of cutting all the pieces we needed from the backside of the dress for her booty to be hanging out for the world to see (it is not nearly impressive enough to #breaktheinternet, it would merely #breakKathleenspride). So the search began.

Could it be possible that some yardage of bootleg Givenchy was laying in some bargain fabric basement? There was only one woman up for the task and her name is Lori Lee (@lololeelee). Mother of Kathleen Lee, seamstress extraordinaire, inspirer of Kathleen’s costuming and fashion legacy. We knew after years of toiling over the Lee children’s costumes and the entire wardrobe for the Truckee High School production of Guys and Dolls that she was ready for the weight of this responsibility.

She set out to the mecca of bargain basement fabric discounters. MILL END FABRICS. Is it in Milan? Paris? No. It is in the center of sartorial innovation: RENO, NEVADA. Like a sign from Yeezus himself, there it was in all it’s glory. The final few yards of a bolt of rose patterned greatness priced at the Lil’ Dickey approved price of $3.99.

Glorious. It felt too good to be true, and little did we know it was about to prove us right.

Lori began her masterpiece. She became enraptured by the beautiful handwork of Ricardo Tisci.

(someone’s been to the Selfish school of selfie taking)

After a few hours of hard unpaid labor, Lori put her masterpiece in an envelope and addressed it to San Francisco. And this is when our story meets it’s villain: The United States Postal Service.

That’s right USPS. I’ve got the receipts. And as will be revealed shortly, this dysfunctional excuse for a government agency has rose-patterned blood on it’s hands.

All seemed well and right as I received my tracking updates, with glee. Out for delivery! Could this really be happening!? Our shining moment was so close we could taste it.

PLOT TWIST. Adding fuel to the fire that is the rage that burns inside the hearts of WWYW for the USPS, after missing the insured delivery date of Wednesday, pushing our shoot dangerously close to the Halloween date, on THURSDAY of that week none other than the Kween Kardashian herself, and the matriarch to lead all Matriarchs Kris MOMAGER Jenner (it should be noted here that it is no coincidence that Lori and Kris have the same birthday) followed the What Would Yeezus Wear account.

Panic ensued. The brightest spotlight of our burgoening viral internet career was melting our faces off. There was a chance that KIM HERSELF was going to see Lori’s handiwork.

That day it appeared that a miracle HAIL MARY PASS was within reach, and that we were going to pull off the most epic viral fire post to end all posts when Kathleen received her tracking updated. “Out for Delivery”.

But like the Eye of Sauron, the USPS did not want us to have our precious. The business day closed. No delivery. And our story went from WTF to full on BISH WHAT IN THE ACTUAL:

Our precious was en route TO LOS ANGELES CALIFORNIA. We’re they trying to deliver it to Kim herself??

Compounding matters were the following factors: 1) Kim teased her followers that she may in fact plan on wearing THE DRESS for Halloween after posting a pic from her game in said dress. 2) The post office assigned to our zip code happens to be the only one in San Francisco without a public facing customer service desk. And like all fully functional government agencies, all the other post-offices said there was simply nothing they could do.

The rage burned brighter than ever. Like emperor Palpatine the USPS looked on with glee. The journey, young padawan, had only begun.

We pivoted to a backup lewk (which was still fire btw) and accepted defeated. At best we thought, we could post on Monday when everyone’s Halloween recaps were going out. It stung, but you most persevere.

Halloween passed. Kim wore the dress. The internet commented on the cleverness of her being able to make a joke at her own expense. The WWYW creators sat in a corner somewhere crying over back to back plays of 808 and Heartbreaks. Oh, what could have been.

But the devil wasn’t done with us. Did the package arrive on Monday? The answer is no. It did not.


There were angry phone calls to inept government employees who probably aren’t compensated properly to care, countless tracking number refreshes the dress still didn’t come. To be honest we don’t know how many times it went out for delivery in Santa f*cking Monica, checking became too painful. At this point the biggest fear was that Lori’s hardwork would never arrive anywhere would be trapped in the purgatory of Santa Monica’s delivery routes for eternity.

We moved on. We forged a new future that was empty and grey.

And then it came. Over a month later.

(Not Santa Monica, thanks for the geography lesson Satan).

At this point we were numb. How could we post it now? Look like hack jobs that saw Kim’s Halloween post and took a month to randomly post it’s copy. The holidays were coming, people were distracted and the WWYW team was defeated.

And so it sat.

But here is the thing. We set out to do this, we believed. And going home and having every single random you went to high school with ask when your next fire post is gonna drop knowing you were sitting on napalm and the USPS wanted nothing of it got harder and harder to bear.

So here we are in the new year renewed. New Year, New What Would Yeezus Wear, because God Damn the USPS, you deserve it. Our loyal followers that gave us the most lit hobby, strange conversation starter, and ego stroke we could have never imagine in our wildest fever dreams. We owe you fire content and what would we be if we let poorly-run, taxed-funded evil keep it from you.

So forgive us friends for the delay. Accept our renewed promise to you, to do everything in our power come hell, high water, government agencies, and any other forces that try to bring us down, to bring you the most inspiring and LOL inducing recreations of the Kardashian/West/Jenner empire because YOU deserve it.

They don’t want us to win.


(born April 16, 1959) is an American animator.

Feiss was born in Sacramento, California. He joined Hanna-Barbera around 1978 while still a teenager.

He worked on the 1980s revival of The Jetsons, was a key animator on the Jetsons movie, co-animated the Ren and Stimpy pilot “Big House Blues”, was an animation director on The Ren & Stimpy Show during its first season and created the Cartoon Network original series Cow and Chicken and its spin-off,I Am Weasel. On his shows, David directed every episode and also worked as a writer, his writing credits usually collaborated with Michael Ryan.


Here’s another creator that was instrumental to the rising success of Cartoon Network in the 1990′s and the new age of creator driven animation that also arose at the time.

If I haven’t over-explained before I will now. Up until the 1990′s, cartoons were largely the creation of major corporations; toy companies, food manufacturers, movie/television companies, etc. The only places that really made independently created animation without large corporate oversight were the likes of Hanna-Barbera and Filmation but event hen they were still commissioned by corporate suits to produce cartoons. Gotta pay the bills, ya know?

Then came the 90′s and cartoon broadcasting companies were willing to take chances and put their faith in animators, writers, and artists to produce in-house animated series’ for them. Nickelodeon, to the best of my knowledge were the first with their range of Nicktoons but Cartoon Network followed suit with their own range of Cartoon Cartoons, formerly called What-A-Cartoons and World Premiere Toons. As I said before, Feiss was a key player throughout the rise of this new age.

He got his feet wet with Hanna-Barbera, and co-animated, directed, and did writing on Ren & Stimpy alongside his pal and fellow animator,  John Kricfalus. John K. (as I’ll refer to him) and Feiss both share similar animation philosophies and styles which is quite evident when you look at Cow & Chicken with its offbeat, surreal humor, almost visceral physical humor, and overall strangeness that harkins back to the days of theatrical animation and early Hanna-Barbera. In fact, you can’t go to any forum and mention Cow & Chicken without some form of contempt from someone who will call the show a rip-off or unreasonable facsimile of Ren & Stimpy.

In a way, people are right about the similarities between the two shows and that’s possibly why many have more fond memories of  I Am Weasel. While that show did have plenty of surreal humor and physical comedy it also had more grounded plots, and a refined, intellectual protagonist (voiced by  Michael Dorn by the way) with a dimwitted foil to act off of.

Anyway, even if you don’t like Cow & Chicken, ya gotta give it up to Feiss who stayed with his creation throughout it’s whole run, pulling triple duty as director, writer, and sometimes even story boarder.

Going back to John K. for a minute, if I had to describe Feiss in conversation, I would call him The Good Guy version of John K. Don’t get me wrong, John K. is a very talented and creative man with a love for cartooning and animation that I can’t even fathom– but the guy is kind of a douchebag. If you’ve seen him in interviews, read his blog posts, or anything of the sort he comes across as a major prima donna with a skull so thick it could deflect a bullet. He’s so stuck on traditional animation and older, out of fashion styles of comedy, and he constantly denounces 3D animation and modern animating techniques. I appreciate how much he loves animation but christ, stop being such a curmudgeon already!

Feiss on the other hand is the exact opposite. He too loves animation but throughout the years he’s been apart of all sorts of projects that have used different techniques and styles. Sure he’s not really all that big of a name anymore and as we’re about to find out he’s been a key player for some real crap but he’s carved out a good niche for himself where he can apply his style in all sorts of different features.

Since Cow & Chicken and I Am Weasel he’s been an animator/director/writer for movies and short films based on the likes of Shrek, Dreamworks’ Dragons, Rango, Free Birds, The Box Trolls, Despicable Me, Madagascar, and Open Season. Heck, he hasn’t even stopped animating for television, he’s also done work for the utterly adorable (and surprisingly entertaining) Korean based series, YooHoo & Friends.

Seriously, look at this, have you ever seen anything so cute in your life?

((EDIT: he actually worked on an Americanized dub for later in the show’s life that wasn’t very popular, my mistake, I didn’t research that well enough))

I’m gonna wrap this up here, welcome to Creator Corner, David Feiss

When he squeals like a little girl, you know you did it right. I just remember doing one scene and Rob shrieking in the corner — and I went behind the monitor, and there he was, the 6-foot-4 football player who wrote our show. And it’s a real validation to get that from him, because you know he has everything in his head, the way he wrote it and the way he wished to see it.
—  – Jason Dohring, speaking about Rob Thomas, creator of Veronica Mars (X)